"Oskar McCarthy’s portrayal of Robert’s increasing anxiety (which would one day culminate in suicidal actions) was touching and believable."
Judith Weir on Re: Sound's 2016 production of Duet
"Oskar McCarthy's bolshy Leporello stole the show with a performance of real vocal and physical power"
Opera Now (June 2016 edition) on Midsummer Opera's 2016 production of Don Giovanni
"It's quiet, dreamlike and slightly hypnotic, McCarthy's baritone as convincing communicating hope as it is plumbing the depths of despair. There's a fine balance to his performance style, believably and naturalistically inhabiting a character whilst delivering a fantastic vocal performance."
London City Nights on Buried Alive (2016)
"Binnacle the cat’s tail bounces persistently under the hands of nimble puppet master Oskar McCarthy, whose body mimics the cat’s responses."
Fringe Opera on OperaUpClose' 2015 production of Ulla's Odyssey
"Oskar McCarthy has a stage presence and a clarity of diction (both spoken and sung)"
British Theatre Guide on Re: Sound's 2015 production of After Party
"Arsamenes was sung by baritone Oskar McCarthy with eloquence and agility, and he played the character of the suffering brother and lover with such sensitivity that I felt sympathy for him."
Bachtrack on Hampstead Garden Opera's 2015 production of Xerxes
"Carmen loves Escamillo, a splendidly haughty Oskar McCarthy with resounding baritone and matador splendour."
The Argus on Secret Opera's 2015 production of CarMen
"The opera opens with a fleeting yet strong performance from baritone Oskar McCarthy as the escaped political prisoner Angelotti, whose richness of tone sets the pace for this impressive show."
Fringe Opera on Midsummer Opera's 2015 production of Tosca
"Adam Torrance and Oskar McCarthy give fine comic performances as Ferrando and Guglielmo."
Daily Express on Pop-Up Opera's 2014 production of Cosi fan tutte
"Oskar McCarthy provided a burnished baritone foil"
BBC Music Magazine on ERRATICA's 2014 production of Triptych